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The newly discovered and unreleased concert from 1975 recorded by the Philip Glass Sextet at La Maison de la Radio, Paris.The sextet is composed of Philip Glass, Jon Gibson, Dickie Landry, Michael Riesman, Joan La Barbara and Richard Peck.Music in Twelve Parts is a set of twelve pieces written between 1971 and 1974. This performance in France includes part 1, 2, 3, 11 and 12 on a double LP.Also included a very rare Philip Glass interview from 1974 in his NYC loft during the rehearsals of this piece, produced for the French radio by Daniel Caux - musicologist and co-founder of Shandar Records.A never before released –Philip GLASS (1975) live recordings, released in partnership with the National Audiovisual Institute – INA."A new sound and a new chord suddenly break in, with an effect as if one wall of a room has suddenly disappeared, to reveal a completely new view." - A. Porter

Solo Piano III – Abschluss der Solo Piano-TrilogieEs ist der Schlussakt – und wie immer tauchen vor dem Sprint in Richtung Ziellinie die letztenProbleme auf, müssen die letzten Lösungen gefunden werden. Wie die beiden vorangegangenenAlben findet es ein überwiegend glückliches Ende in C-Dur, doch auf dem Weg dorthin gibt esmehr Dissonanzen, Spannungen und Unklarheiten.Solo Piano III markiert einen weitaus schwierigeren Wendepunkt.Die Zusammenarbeit mit anderen Künstlern setzt er fort (u.a. Room 29 mit Jarvis Cocker, Ibeyi,Toddla T), doch mittlerweile ist es Chilly Gonzales egal, ob seine Musik jedermann gefällt odernicht. Fortan werden falsche Noten nicht mehr glattgebügelt: Die geheimnisvollen Akkorde undseltsamen Strukturen besitzen einen solchen Suchtfaktor, dass sie schließlich wie unvermeidlichklingen. Während Gonzales' eigens gegründete Musikschule, das Gonzervatory, ihren erstenJahrgang absolviert hat, ist ihr Lehrer wieder zum ewigen Schüler geworden – und das ohne Angst,die Musik für sich selbst sprechen zu lassen.Die musikalische Reinheit von Solo Piano III ist kein Gegengift für unsere Zeit, sie reflektiert alldas Schöne wie auch Hässliche, das uns umgibt.

Near the end of the old millennium, someone once rapped, "Being futuristic these days means being futuristic on your own terms," which is entirely fitting when said rapper records an album of solo piano instrumentals. (Perhaps less instructive is what said rapper went on to say: "Being futuristic means loving worms, saving your sperm, wearing your pubes in a perm.") The former Chilly Gonzales has a hint of Gershwin in his playing, an urbane, contemplative take on the blues that sometime turns into a wry smile. He also has a hint of Satie, the spare and haunted sound of a music box turning slowly to a halt as it comes to the end of its wind. But what he also has is entirely his own, which not only makes this the best album of solo piano instrumentals by a rapper extant but also one of the finest solo piano albums not by a jazz or classical performer. Obviously, there's a duality to any man who lit up stages with Peaches but also played with and produced Jane Birkin and Charles Aznavour, but Solo Piano is a disarmingly wonderful record. - allmusic.com

Deep Purples legendäres Konzert in derRoyal Albert Hall von 1999!

Musique Plastique (Visible Cloaks, Pedro) rescue a nearly lost soundtrack to a Belgian avant-theatrical work from the 80s. For fans of Nuno Canavarro, Roberto Musci and Vito Ricci. Like the wings Daedalus crafted for his son Icarus, John Gilbert Colman’s score for sampler, voice and chamber orchestra almost melted away completely, disappearing into the tides of time. The album originally served as the score to an avant-garde production of the Greek myth that toured the Belgian theatre circuit in 1986. Director Guy Cassiers cast the play with 45 developmentally disabled actors enrolled at the Krauwelenhof school in Antwerp, working for six months with the young actors (aged 12-17) to discover and develop their talents, creating (by all accounts) a deeply moving piece of visual theatre. Rather than using dialogue, Cassier used movement, costumes and music tell the fable, words were only present as text fragments within the score, spoken by members of the chorus or sung by Rolande van Der Paal. Colman's compositions elevate the experimental narrative with broad shifts in mood, utilizing a pop-concrète style by incorporating sampled squeaking balloons, environmental recordings, tuned percussion, drum computer, and voice to accompany the traditional small chamber instrumentation. The music is reminiscent of other avant-theatrical pieces from that era by Nuno Canavarro, Milesi & Bacalov, Todd Barton, Vito Ricci and Roberto Musci, while standing on its own as a unique and moving piece of minimal music. Remastered DMM pressing.

Beving has been one with the piano from an early age. He was forced to end his musical studies at the conservatory and instead continued at university to get a degree in social sciences. However, his love for his instrument never perished. Where once his goal was to hit as many notes per minute as physically possible, his style of playing has changed over the years, searching for a particular aesthetic essence. His path was illuminated by a piano that Beving inherited from his grandmother when she passed away in 2009. This German instrument insisted on a more gentle touch and a gracious pace, which eventually led Beving to adapt to a more classical vocabulary to tell his story.Joep Beving is a composer and musician, but to the international advertising community he is mostly known as the face of music agency MassiveMusic.

Quirine Viersen returns to the cello suites of Johann Sebastian Bach.She decided she wants to share with you the development she has gonethrough after deep inner work. Just as the cello suites were a new journeyfor Bach, they signify now the same for her. “Bach gave me, time and again,life energy. Through his purity he brought me back to my own purity andcloser to the answer on my questions.” Due to the enormous developmentin length and size of the structure, Viersen suspects that they have beenan experiment for Bach himself, possibly even study material. “The furtheryou get into the suites, the larger the intervals and bigger the technicalchallenges. It demonstrates that Bach was becoming more and more awareof the enormous possibilities.Being awarded the Credit Suisse Young Artist Award, Quirine performedwith the Vienna Philharmonic under Zubin Mehta at the Lucerne Festivalin 2000. Since then, Quirine has played the cello concerto repertoirewith the Royal Concertgebouw Orchestra under Herbert Blomstedt, IngoMetzmacher and Bernard Haitink, St. Petersburg Philharmonic Orchestra/Valery Gergiev, Tokyo Metropolitan Symphony Orchestra/Jean Fournet andmany others. After working and recording extensively with Silke Avenhausfor almost twenty years, Quirine has sought out new duo collaborations.Recitals with pianist Enrico Pace kicked off with great success at theConcertgebouw, Amsterdam in 2017.Bach Cello Suites is available as a limited edition of 500 individuallynumbered copies on black vinyl.

Le Raccourci is a welcome introduction to the world of modern classical identity Sebastian Gandera. The impressionist landscapes of a sensitive soul self-reflecting, these miniature compositions alternate across a rudimentary set up of piano, field recorder, sampler and four track. Melancholic utterings hastily captured some 100km east of Paris. Classically trained by the same teacher as his parents, Gandera first began recording in the confines of his university dorm room, inspired by a C60 from friend and future collaborator Bernard Odot (A Gethsémani). Humbly existing without sparing a thought to music industry or career, Gandera’s personal effects surfaced via the European and US cassette networks from 1988 to 1994. Impressively accomplished for the DIY scene they orbited, these tapes were issued in scant quantities, rendering his pieces as private secrets shared and duplicated in small concentric circles. Aside from a sole, avowedly traumatic performance, the material was never shared in a live context.

❝ J'aime écrire de la musique de chambre et des chorales, et particulièrement de la musique pour orchestres. Mais il n'est pas toujours simple de voir ces dernières jouées, l'orgue devient alors le meilleur moyen de donner au compositeur de vastes ressources ❞, écrivait Moondog en 1978 pour accompagner l’album Selected Works – confidentiel cousin américain de Moondog in Europe le premier disque enregistré en Allemagne. Avec New Sound l’Ensemble Minisym fait le chemin inverse, emportant les pièces pour orgue(s) qui constituent l’album A New Sound of an Old Instrument (1979) – ainsi que des pièces composées en Europe durant cette même période – vers une instrumentation nouvelle et singulière. Le travail de l’Ensemble se base alors sur une grande connaissance de l’univers de Moondog qui a lui-même – et tout au long de sa vie – régulièrement donné de nouvelles couleurs à de mêmes compositions en changeant leurs instrumentations. Ce qui est d’ailleurs particulièrement manifeste au sein de l’album A New Sound of an Old Instrument dont la première face est constituée de pièces essentiellement composées aux milieu du tumulte des rues de New-York et marquée par une incroyable science du métissage (« Oasis », « Single Foot ») quand la seconde fait la part belle à de nouvelles compositions inspirées par ce sol européen que Moondog foule depuis peu et de manière désormais définitive (« Barn Dance », « Elf Dance », « Log in B »). Empruntant des chemins de traverses les musiciens de Minisym déchiffrent par ailleurs des pièces jusque là inédites, parfois jamais jouées ni-même enregistrées par Moondog (« Logrundr in a », « Ground in d minor », « Marche Funèbre (Vercingétorix) », « Shneeflocken »). Loin des académismes, c’est un monde que l’on rencontre ici, à l’ombre des instruments aussi rares que chers à Moondog. Ce disque, fruit d’un travail au long cours permet un souffle aussi fidèle qu’iconoclaste sur la musique d'un compositeur qui a passé sa vie entière à échafauder une oeuvre d'une naïveté toute particulière.

Víkingur Ólafsson, born1984 in Island, is in his home country a well-known as acclaimed musician. He was awarded “Musician Of the Year” four times already.Now, Deutsche Grammophon presents his debut album with “Piano Works” by Philip Glass for solo piano.

Duvall Timothy isn't a musician. At least not in that conventional sort of way. No, Timothy's artistic expression is the sort in which all of his daily actions are intentional and each action reveals a small part of his large vision.He steps out for his day dressed in all blue: A statement of self. He chefs African cuisine: a medium to discover his heritage and share that heritage with others. And when he returns home, he plays piano.What you have here is an exploration in memory. Memories of classical, of jazz, and hip-hop. Fragmented into its elements, looped simply, and then reconstructed complexly.Timothy's compositions evolve the same way any meaningful memory comes back to the mind. At first in snippets looped in the minds fog. Then, as those fragments build, the scenes of the past rush back into full view. And as quickly as they appear, they dissipate away. Fleeting and substantial. But the simplicity is purposeful.And while Timothy is drawing from deeply personal experiences, his playing feels intimate and familiar because we've all felt the essence of memory: love and loss, joy and pain.So it's fitting that this be the inaugural offering from I Should Care Records. It's our hope that Brown Loop is as memorable and haunting for you as it was when we first heard it.

“Three Worlds: Music from Woolf Works” is the new album by Max Richter. The album is based on the Woolf Works compositions, originally created for the London Royal Ballet production of choreographer Wayne McGregor. This was production was inspired by the work and life of Virginia Woolf.Max Richter (1966) is a German-born British composer who has been an influential voice in post-minimalist composition and in the meeting of contemporary classical and alternative popular musical styles since the early 2000s. Richter is classically trained, having graduated in composition from the Royal Academy of Music and studied with Luciano Berio in Italy.Richter is well known for his prolific output: composing and recording his own music; writing for stage, opera, ballet and screen; producing and collaborating on the records of others; and collaborating with performance, installation and media artists. He has recorded seven solo albums and his music is widely used in cinema.

Composer and Golden Globe winning Jóhann Jóhannsson releases his first album for Deutsche Grammophon Recordings. It feels like a meditation over beauty and creativity Jóhannsson is a role model for the growing scene of contemporary composers who draw their inspiration from soundtracks, Minimalism, Ambient und electronic music. “Orphée describes the way out from the dark into the light inspired by mythical variations from Ovid to Cocteau. It’s the story of death and reincarnation as a metaphor for our society. Again Jóhannsson mixes acoustic elements combined with electronics, mysterious soundscapes paired with orchestral and a capella voices.

With Solo Piano, Glass presents himself "unplugged" - no electronic keyboards or synthesizers, and no overdubs, either - just solo piano.

This fast and furious orchestral work with piano, which begins with what must surely be the most famous clarinet glissando of modern times, was composed with the intention of presenting as many facets as possible of music from the New World in the short space of around 15 minutes. In his "Rhapsody In Blue" Gershwin wanted to »paint a musical kaleidoscope of America – our enormous melting pot, our typical national traits, our blues, our seething city life«. With this in mind, Leonard Bernstein made a number of recordings of the work and among the many excellent recordings that he made as a conductor or as a soloist, this present version with the Columbia Orchestra, from 1959, is especially of note. Bernstein takes on a double function as conductor and soloist and manoeuvres his way safely and surely through the highly diversified score to create a well-rounded picture filled with hefty orchestral dynamics and finely chiselled solo playing. In Gershwin’s freely composed work the soloist and orchestra do not resort to bombastic shock effects or egomaniac keyboard acrobatics, and so this the work can be described as rhapsodic in the very best sense of the word.Most fittingly, on the B side there is another freely composed work – the autobiographical sketch entitled An American In Paris. The superb New York musicians paint the impressions of a visitor to the hectic French capital city – that too is the sound of America.

Obsession is a solo piano album written and recorded by Kit Grill during 2018.

G.I. Gurdjieff was an Armenian and Greek philosopher, spiritual teacher, and musician, whose teachings of The Fourth Way influenced thousands worldwide and created communities that still exist to this day. His goal was to teach humans to reach a higher consciousness out of the "waking sleep" he considered most to be living in. Music was an important part of his teachings and these brilliant harmonium improvisations were recorded in 1949 in Paris, just a short time before his death. Droning and ethereal, these beautiful pieces mark a pinnacle in the work of a legend of human spirituality.

Limitierte Vinylauflage der "Behind The Counter" Compilation von Max Richter, der hier einen faszinierenden Einblick in seinen musikalischen Kosmos gewährt, aus dem er seine einzigartige, künstlerische Vision schöpft. Feat. Mogwai, Boards Of Canada, Let's Eat Grandma, Kaitlyn Aurelia Smith, Godspeed You! Black Emperor, Philip Glass, Aphex Twin, Low, sowie klassische Werke von Rachmaninoff und Bach. Triple-LP auf grünem Vinyl mit 36 Tracks, plus einer zusätzlichen 7" mit 2 weiteren Tracks, plus eines Download-Codes zu den beiden CD-Mixsets.

Nachdem Lambert dieses Jahr europaweit Konzerte asugebucht gespielt und sein Debut auf Decca"Sweet Apocalypse" veröffentlich hat, folgen nun auch seine vorherigen Werke Lambert, The LostTapes und Stay In The Dark auf Decca - jeweils auch auf LP.

Written in 1913 by Luigi Russolo, The Art of Noise Manifesto marks the start of the modern music era. There wouldn’t be probably either John Cage or Musique concrète without the disruptive sound experimentations of the Italian Futurists at the beginning of the 20th century. The Futurist conception of music, indeed, made no distinction between the realm of the sound and that of noises: both of them were part of the same musical substance, the background of the human existence in the world, and therefore, a raw material ready to be manipulated by the artist. Starting from the founder and leader of the Futurism Filippo Marinetti, La Musica Futurista nell'Italia e nel Mondo is a compelling collection of pieces executed by some of the pivotal figures of the “art of noises.” Comes in a special "flap" deluxe gatefold sleeve, an Italian futurist newspaper replica.

Classic recording of Brahms: The Four Symphonies by Herbert von Karajan & Berlin Philharmonic Orchestra.

Poppy Ackroyd ist eine britische Musikerin und Komponistin. Sie studierte Klavier an der University ofEdinburgh. Nach dem Studium wurde Ackroyd Mitglied im Hidden Orchestra. Auf ihrem Debütalbum"Escapement" (2012) spielte sie vor dem Hintergrund von Field Recordings Piano und Geige - wobei spielenrecht weitläufig zu verstehen ist, da sie ihr Klavier mit ungewöhnlichen Mitteln bearbeitet. Dazu gehören dasZupfen, Klopfen, Streichen und Sägen. Auf ihrem zweiten Album "Feathers" (2014) spielte sie auchClavichord, Cembalo, Spinett und Harmonium. Ackroyds Aufnahmen kennen Brüder im Geiste wie LudovicoEinaudi, Philipp Glass, Nils Frahm, Silvain Chauveau, Max Richter sowie Hauschka und werden dem weitenFeld zwischen Minimal Music, Modern Classical, Elektronik und Popmusik zugeordnet. Über ihre eigenenArbeiten hinaus schreibt sie auch Musik für Tanz-Performances, Theater, Film und Radio. "Sketches"versteht sich als Mini-Album, das die Zeit bis zum nächsten "richtigen Langspieler" im Oktober 2017verkürzen soll. Es enthält neben vier neuen Kompositionen sechs überarbeitete, das heißt neu fürakustisches Solo-Piano arrangierte Stücke der beiden vorangegangen Alben.

If you thought classical music was snobby and polished: give this a chance!"Infra" is the 2010 album by neo-classical composer Max Richter, released July 2010 on FatCat Records.

“Prehension ” is the new album of composer and pianist Joep Beving. Beving has been one with the piano from an early age. He was forced to end his musical studies at the conservatory and instead continued at university to get a degree in social sciences. However, his love for his instrument never perished. Where once his goal was to hit as many notes per minute as physically possible, his style of playing has changed over the years, searching for a particular aesthetic essence. His path was illuminated by a piano that Beving inherited from his grandmother when she passed away in 2009. This German instrument insisted on a more gentle touch and a gracious pace, which eventually led Beving to adapt to a more classical vocabulary to tell his story.Joep Beving is a composer and musician, but to the international advertising community he is mostly known as the face of music agency MassiveMusic.

This is probably one of the few essential recordings in contemporary classic music.

This is probably one of the few essential recordings in contemporary classic music.

John Cage and Christian Wolff's self-titled 1962 LP was an early showcase of both 20th century composer's experimental chops, and is highly regarded as some of their finest work. Cage's piece, which spans the whole of side 1, was originally composed in 1960, and like many of his pieces, would never be performed the same way twice. It involves the overlaying of transparencies to create the "score", while performers manipulate phonographic cartridges in a variety of ways to create amplified sound. To add to the effect, this particular performance is actually the superimposition of four performances. In all, it is a truly groundbreaking piece of 20th century classical. Wolff's side, while less extreme, is equally innovative, and a window into his particular pointillist vision of music.

Nach ihrem gefeierten Konzert beim Acht-Brücken-Festival in der Kölner Philharmonie im Mai 2016 veröffentlichen die 6 Pianisten Gregor Schwellenbach, Hauschka, Erol Sarp (Grandbrothers), Daniel Brandt, Paul Frick (beide Brandt Brauer Frick) und John Kameel Farah ihre moderne Interpretation von Steve Reichs "Six Pianos", einer Originalkomposition von 1973, auf Tonträger, und ergänzen sie um Terry Rileys "Keyboard Study #1".

According to the master’s 80th anniversary 3rd of October 2016 Deutsche Grammophon presents the iconic recording from 1974. “Music for Mallet Instruments, Voices and Organ“ was recorded 1974 in Polydor-Studios Hamburg. 40 years later this great recoding finally gets officially re-released. The record contains liner notes of Steve Reich and photos. This is a limited run of 2500 copies. The records are pressed to 180g vinyl including a download code.

Born in Oakland, CA, but raised in New Mexico, Partch learned mandolin, violin, piano, reed organ, and cornet as a child. Clearly a unique talent, even that early on, Partch went to USC Music School but was dissatisfied with his teachers, and instead studied music on his own where he learned to reject many of the Western constructs of music and began experimenting withusing scales of unequal intervals in just intonation, and was one of the first Western composers of the 20th century to use microtonal scales. These recordings were some of the first made after Partch settled in Sausalito and founded his legendary Gate 5 studio. Debuted in 1953 on KPFA radio, these compositions still sound otherworldly and cutting edge today. Essential American 20th Century composer Harry Partch, on Jeanne Dielman.

This release comes on 180g vinyl with a download code.

Flüssig, hypnotisch und virtuos: Der ukrainische Pianist vertont das Thema Wasser.Anknüpfend an das 2013 erschienene Album "Corollaries" und die 2014 veröffentlichte EP "Evertina", verbindet auch "Rivers And Streams" die fließende Handschrift Melnyks mit organischer Vitalität, die als gleichermaßen nuanciert durchdacht gelten darf. Wie der Titel schon andeutet und der Künstler auch selbst herausstreicht, ist das Album den Flüssen und den Strömungen dieser Welt gewidmet - in Anerkennung ihrer Schönheit. Für den ukrainischen Pianisten ist Wasser "das magischste und mysteriöseste von allen Dingen, die wir kennen". Spannend: Das Thema der Veröffentlichung korrespondiert mit dessen Aufnahmetechnik. Melnyk ist bekannt für seine einzigartige "Continuous Music"-Spielweise, die zurecht häufig mit Wasser verglichen wird. Auf "Rivers And Streams" konzentriert sich Melnyk komplett auf seine tiefe Verbindung mit dem Element, bis zu dem Punkt, an dem die Musik amorph und sich ständig verändernd selbst geradezu "flüssig" wird. Von dahintröpfelnden Bächen über sich windende Flusstäler erreicht das Album seinen Höhepunkt in dem majestätischen, 20-minütigen Stück "The Amazon". Jamie Perera an der Akustik- und elektrischen Gitarre und die koreanische Flötenspielerin Hyelim Kim steuern jeweils einen Gastauftritt bei.

Comprised mostly of Arvo Part's signature hypnotic tintinnabuli, performed by Anthony Pitt and Tonus Peregrinus, Passio Domini Nostri Jesu Christi secundum Joannem is a slow-moving liturgical piece that offers a vastness, solemnity and intimacy which allows for contemplation of the mysteries and suffering of the canonical text taken from the Gospel of John, chapters 18 and 19. Winner of the Cannes Classical Award.

Glassworks is the most pleasant craftwork ever from the great minimalist exploiter. Six warm pieces in a successful attempt to create a more pop-oriented work. Glassworks is another Music On Vinyl Classical release by this fantastic composer.180g audiophile vinyl.

Unique Direct-To-Disc Recordings

Pianisme is a collection of unreleased and out-of-print piano works composed and recorded since 2004. Sylvain Chauveau has made solo records on labels such as FatCat, Type, Les Disques du Soleil et de l'Acier, and Brocoli: very minimal compositions for acoustic instruments, electronics and vocals.

“Symphony No. 9 in D minor” is the last symphony upon which Anton Bruckner worked, leaving thelast movement incomplete at the time of his death in 1896. Van Beinum, the Dutch conductor, was aspecialist in the music of Bruckner. One of the best recordings of the Bruckner 9th, some say that it isTHEE best, was recorded in Amsterdam in September 1956 with the Concertgebouw Orchestra. Thisis, by any standards, a great account of the 9th, one that is more dramatic than epic, a performancethat anatomizes this great wounded giant of a symphony. Eduard van Beinum is responsible for theConcertgebouw Orchestra's Bruckner tradition. Eduard van Beinum was a great Brucknerian.

Bruno Bavota is a young Italian composer and multi-instrumentalist with seemingly boundless potential, and an extraordinary gift for marrying the intellectual andemotional into earnest and profoundly effective songs. Though favorably compared in his early career to another Italian composer, the legendary Ludovico Einaudi, Bavota has found himself increasingly pursuing ways to distort and disturb traditional arrangements and melodies in pursuit of a more distinct resonance. Armed with a plethora of outboard effects pedals and processors, Bavota manually manipulates hissongs in real time as he performs - often with his bare hands engaged in a seesaw battle of construction against obstruction. It infuses a genuine sense of tension and forward momentum that makes his work extraordinarily poignant. Recorded live inone afternoon at a friend's studio in Bavota's hometown of Naples, Italy, RE_CORDIS documents many of Bavota's most recognizable and accomplished works as they st and at this moment in time - ever-evolving musical life-forms thatchange shape while maintaining their distinctive skeletons. It also introduces his newest work, "The night of," a tense, escalating race of loops punctuated by a series of dramatic chord strikes. The recording is charmingly informal, leaving the sounds of Bavota's physical movements - the shuffling of feet, the triggering of effects pedals, the creaking of stools - present in the mix to mingle with the music. As an exhibition of Bavota's skills as a composer and performer, it's impressive; as aglimpse of what's to come, it's an epiphany.

A fantastic new record by Sarah Hennies featuring solo vibraphone pieces for and in an 700 year old church in Slovakia. Performed by Lenka Novosedlíková.

Nach der umjubelten Uraufführung ihres neuen Programms im ausverkauften Saal des Leipziger ’MDR-Festival of Lights’ präsentieren Maak & Albertz (die Pianistin Anna-Maria Maak und der Komponist Sef Albertz) das Album ‚Resplendences...around Bach‘ - die Essenz ihrer jahrelangen gemeinsamen künstlerischen Arbeit. "Eine geschickte dramaturgische Verbindung in eine faszinierende musikalische Welt, eine genussvolle Kombination aus fortschrittlichen und traditionellen Elementen, aus Jazz und Funk, aus südländischem Temperament und Tiefgründigkeit“ (MDR Presse). „Ein großartiger Komponist...eine fantastischeInterpretin...eine kraftvolle Arbeit!“ (Kristjan Järvi, Dirigent)

Contact is the third and final part of Flemish musician and composerGuy Van Nueten’s piano trilogy ‘Pacman”. With Contact, Van Nuetenhas come up with his most mature work to date. Through recordinghis compositions in one take he allowed for a unity of time and space.This is a reaction against the frequent cutting and processing that takesplace during recordings, whereby original emotions become diluted andthe distance between music and listener increases. “I don’t know whathappened with me,” says Van Nueten, “but with this record I’ve delveddeep. I raised the bar higher than ever. This is the crowning glory.”By the age of 5 Guy Van Nueten learnt to play piano and he becameknown to a larger audience as the songwriter and keyboard player forThe Sands, well known for the pop classic ‘April & June’. Van Nuetensubsequently became a session- and live musician for the cream of theBelgian rock scene, with bands such as dEUS, Daan, Zita Swoon andcountless others. His compositions, influenced by Bach, minimal music,pop and electronic music, combine a feel for lyricism and humour withan irrepressible urge for purity.

A composer, a theorist, and an innovator, Harry Partchstands out among so many other American classical artistsas one of the most eccentric. He notably rejected thetradition of composers like Beethoven and Bach for a lack oftheatricality and drama, and took his greatest inspirationsfrom Eastern Noh theater, frequently incorporating speechand dance into his pieces, as well as requiring participantsto perform multiple parts. His theories reflected thisdismissal, which sought to return musical tradition to thoseof the pre-Classical era, with a heavy focus on microtonality,and octave intervals beyond what was traditionally utilized.Many of the pieces he composed would prominently featureinstruments of his own invention, including heavily modifiedstring instruments, mallet instruments, and pipe organs.Over the course of his life, Partch released a number ofrecords, soundtracked numerous films by MadelineTourtelot, and wrote the highly influential text Genesis Of AMusic, which would introduce his theories to acontemporary audience, and inspire fellow avant-gardecomposers as Lou Harrison, Ben Johnston, James Tenney,and even the famed experimental collective The Residents.One of his most famed works was the stage play DelusionOf The Fury, a piece of performance art based upon theJapanese Noh drama Atsumori, while also taking cues fromEthiopian folk tales, Shakespearean tragedy, and ancientGreek traditions. Delusion Of The Fury is looked backupon by critics and historians as one of Partch's seminalworks, making heavy use of his signature micro-tonalcompositional style, as well as many of his own inventedinstruments. It is considered his confrontation with his ownanger towards a world that frequently rejected him, anddealt him hardship. The play first premiered at the UCLAPlayhouse in 1969, whereupon it was recorded by ColumbiaRecords, and presented in a double LP format.

Karla Borecky’s long-awaited second album following 2011’s "Still In Your Pocket" (R9). In between her work with Idea Fire Company, Karla has been slowly building a new repertoire of solo pieces. She threads together simple, whirling piano numbers. Lines of blue sadness, red memories, and green dreams, stitched with charm and care.

The Grammy award-winning violinist and conductor Joshua Bell recorded his new album Bruch: Scottish Fantasy with the Academy of St. Martin in the Fields. He conducted the piece, which gave him the freedom to work on all the little details.

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Mit über einer Million monatlichen Hörern auf Spotify, iTunes undCo zählt Dirk Maassen weltweit zu einem der meist gehörtendeutschen Komponisten der Neo Klassik. Für sein neues AlbumAvalanche, das im Sommer diesen Jahres (13.07.2018) erscheinenwird, arbeitete er mit Lorenz Dangel (u.a. Träger des DeutschenFilmpreises für die beste Filmmusik in dem Film ,Ich undKaminski"), Dirk Mallwitz, Max Knoth und dem DeutschenFilmorchester Babelsberg zusammen. Entstanden ist dabei einAlbum, das erstmals neben dem unverkennbaren Dirk MaassenSolo Piano, welches er mit viel Gefühl und einzigartigem Timing inder für Ihn typischen Art vorträgt, auch epische sinfonischeStücke enthält.

Steve Reich’s Drumming is regarded as one of the most important musical works of the last century. Distilled through his studies of African percussion in Ghana during 1970 and Balinese gamelan music, Reich revolutionized our understanding of polyrhythms, sculpting a new sonic territory to illuminate the radical potential of Minimalism. Divided into four sections, performed without pause, Drumming is written for eight small tuned drums, three marimbas, three glockenspiels, piccolo and voice. The singers recite melodic patterns that mimic the sounds of the instruments, gradually rising to the surface and then fading out. The overall effect can be transfixing—pulling listeners into the rhythm and possessing a raw immediacy, directness and energy. The premier performances of Drumming took place in December 1971 in New York City—first at The Museum of Modern Art, then at Brooklyn Academy of Music and finally at Town Hall where this recording was made—and featured the composer along with a cast of longtime collaborators including Art Murphy, Steve Chambers, Russ Hartenberger, James Preiss, Jon Gibson, Joan La Barbara, Judy Sherman, Jay Clayton, Ben Harms, Gary Burke, Frank Maefsky and James Ogden. Originally released in 1972 by gallerist John Gibson in a small private edition, Drumming represents the culmination of Reich’s investigation into rhythmic phase relationships and its early realization captures a remarkably organic feel, especially compared to the more widely known version on Deutsche Grammophon from 1974.

Limited edition for Record Store Day 2018!

Limited Edition for Record Store Day 2018Sir George Martin, known as "the Fifth Beatle", is one of the greatest producers of all-time and recorded a dozen of international hit singles. It was a natural progression for George to write for films - two of which are featured here.

Limited edition for Record Store Day 2018!

In den letzten Jahren hat Orchestermusik auch außerhalb der Klassik und dessen Establishment anBedeutung gewonnen. Neil Leiter und Margaret Hermant, die beiden Masterminds des belgischen EnsemblesEcho Collective, haben zu dieser Entwicklung wesentlich beigetragen. Das Brüsseler Künstlerkollektiv ausklassisch ausgebildeten Musikern hat es sich zur Aufgabe gemacht, Hörer unterschiedlicher Musikgenreszusammenzubringen. Unter anderem durch Kollaborationen mit Stars Of The Lid, A Winged Victory For TheSullen oder Jóhann Jóhannsson. Für das neue Album hat sich die Formation "Amnesiac" vorgeknöpft, denfünften Langspieler von Radiohead aus dem Jahr 2001, und einer Neuinterpretation unterzogen. Spannend:Neil Leiter (Violine) hatte vor den Aufnahmen noch nie Radiohead gehört! Die Interpretation des Ensembleskommt allerdings ohne Stimme aus und bleibt ein instrumentaler Hörgenuss. "Thom Yorke sei jedoch herzlicheingeladen mitzumachen", äußerte sich Leiter. Vielleicht findet das Ganze also noch eine Fortsetzung. Mehrvon Echo Collective kommt mit Sicherheit ziemlich bald in die Läden, denn das Signing beim BerlinerNeoklassik-Label 7K! war mit der Aufgabe verbunden, zusätzlich ein Album mit eigenen Kompositioneneinzuspielen.

Der jüngst verstorbene Jóhann Jóhannsson beendete kurz vor seinem Tod sein neues Album.„Englabörn & Variations“ erscheint nun wie geplant. Es ist ein berührendes posthumes Zeugnis dereindringlichen Tonsprache des Komponisten. Auf dem neuen Doppelalbum hat sich Jóhannsson selbstmit seinem ersten Solo-Album aus dem Jahr 2002 auseinandergesetzt und diesem neue Variationenhinzugefügt. So enthält es eine Klavierversion des Titeltracks von DG-Kollege Vikingur Ólafsson undergreifende Chorstücke. Aber auch andere international bekannte Musiker, die Jóhannssonbewunderte, haben ihre Interpretationen hinzugefügt: u.a. Ryuichi Sakamoto, Ambient-Duo A WingedVictory for a Sullen, Komponist und Produzent Paul Corley. „Seine Musik ist herausragend in ihrerintensiven Klangfülle und lyrischen Dichte. Und sie ist für meine Ohren sehr isländisch“, so Sakamoto.Dass ausgerechnet das Album mit dem Jóhannsson seine Solo-Karriere begann diese nun beschließt,damit hat niemand gerechnet. Doch es zeigt ihn als den sensiblen Klangmaler und poetischenErzähler, der er war. Sein erstes Album hat auch nach 16 Jahren nichts an Kraft und Tiefe verlorenund Jóhannsson wollte das Alte neben dem Neuen erklingen lassen

Erasure have announced a collaboration with Echo Collective, the Brussels based collective of post-classical musicians best known for their ongoing collaborative work with A Winged Victory for the Sullen, Johann Johannsson, Dustin O'Halloran and Stars of the Lid.The collaboration sees the entirety of Erasure's latest album, World Be Gone, given a post-classical rework. World Beyond was recorded over ten days by Andy Bell and seven performers from the Echo Collective: Margaret Hermant (violin, harp), Neil Leiter (viola), Thomas Engelen (cello), Jaroslaw Mroz (double bass), Gary De Cart (piano) and Antoine Dandoy (vibraphone, glockenspiel).The album was produced by Echo Collective, mixed by Gareth Jones and arranged by the Echo Collective's Gary De Cart, Margaret Hermant and Neil Leiter. Neil Leiter from the Echo Collective explains, "The process of this project was really deconstruction and re-purposing. We started by listening to each track layer by layer, and then, using the layers that inspired us or we found essential, we reconstructed the tracks instrumentally. Each of the instruments in the band setup were chosen for their inherent capacities and roles. Often choosing which layer to put with each instrument was a question of matching roles and colours. By stripping so much away, we were able to find a new space for Andy to fill. The text of the songs became much more important in the overall construction of the songs, and Andy was free to explore more dynamics and vocal range."The tracks featured on World Beyond show award-winning songwriters Vince Clarke and Andy Bell in a more reflective mood, giving the world and recent political upheavals a thoughtful examination. This new collaboration gives a new dimension to the tracks - including fan-favourites 'Still It's Not Over', which tackles the LGBT rights movement post-Stonewall, and 'Lousy Some Of Nothing', a ballad for our post-truth age - but the band's optimism about the future remains clear and bright. Andy Bell explains: "...the reinterpretations have brought such enormous context to the songs, it has created a new place for them."The original idea for the album developed from Vince Clarke, who initially suggested that a single from World Be Gone could be given an orchestral reinterpretation, but as the idea expanded and took shape, he spoke at length to the Echo Collective ahead of the recording. "It was great to talk through ideas with Echo Collective and then see how their arrangements took shape. The collaboration has given elements of the album a whole new feel and Andy's vocals remain as powerful and uplifting as ever" says Clarke.The collaboration is a natural progression from 1987's The Two Ring Circus, a companion EP for the band's second album, The Circus, which included several orchestral interpretations.

Erasure have announced a collaboration with Echo Collective, the Brussels based collective of post-classical musicians best known for their ongoing collaborative work with A Winged Victory for the Sullen, Johann Johannsson, Dustin O'Halloran and Stars of the Lid.The collaboration sees the entirety of Erasure's latest album, World Be Gone, given a post-classical rework. World Beyond was recorded over ten days by Andy Bell and seven performers from the Echo Collective: Margaret Hermant (violin, harp), Neil Leiter (viola), Thomas Engelen (cello), Jaroslaw Mroz (double bass), Gary De Cart (piano) and Antoine Dandoy (vibraphone, glockenspiel).The album was produced by Echo Collective, mixed by Gareth Jones and arranged by the Echo Collective's Gary De Cart, Margaret Hermant and Neil Leiter. Neil Leiter from the Echo Collective explains, "The process of this project was really deconstruction and re-purposing. We started by listening to each track layer by layer, and then, using the layers that inspired us or we found essential, we reconstructed the tracks instrumentally. Each of the instruments in the band setup were chosen for their inherent capacities and roles. Often choosing which layer to put with each instrument was a question of matching roles and colours. By stripping so much away, we were able to find a new space for Andy to fill. The text of the songs became much more important in the overall construction of the songs, and Andy was free to explore more dynamics and vocal range."The tracks featured on World Beyond show award-winning songwriters Vince Clarke and Andy Bell in a more reflective mood, giving the world and recent political upheavals a thoughtful examination. This new collaboration gives a new dimension to the tracks - including fan-favourites 'Still It's Not Over', which tackles the LGBT rights movement post-Stonewall, and 'Lousy Some Of Nothing', a ballad for our post-truth age - but the band's optimism about the future remains clear and bright. Andy Bell explains: "...the reinterpretations have brought such enormous context to the songs, it has created a new place for them."The original idea for the album developed from Vince Clarke, who initially suggested that a single from World Be Gone could be given an orchestral reinterpretation, but as the idea expanded and took shape, he spoke at length to the Echo Collective ahead of the recording. "It was great to talk through ideas with Echo Collective and then see how their arrangements took shape. The collaboration has given elements of the album a whole new feel and Andy's vocals remain as powerful and uplifting as ever" says Clarke.The collaboration is a natural progression from 1987's The Two Ring Circus, a companion EP for the band's second album, The Circus, which included several orchestral interpretations.

As a truly indispensable bookend to any listeners with the slightest interest in experimental music, French culture or the foundations of mechanical songwriting this inaugural release by these Parisian musical revolutionaries not only predicts the future sound of modern composition by almost 60 years but detangles the deepest roots of European popular culture celebrating an important historical family unison in the process. Combining the infant steps of Magma, the sonic blueprint of 1970’s TV theme Picture Box and the sculptural creations of Polly Maggoo this important and groundbreaking 3 track 7” EP takes us back to the very first aural glimpse of the future of pregressive Europe at the hands of physical sound sculptures glaring in the face of premature technology.This EP and its varied three-pronged assault is the first step in the legacy of the Lasry Baschet unison uniting the husband and wife team of Jacques and Yvonne Lasry plus their son Teddy (who would later create Magma with Christian Vander) and hard material sculptors François and Bernard Baschet (who would later work with William Klein). It was this creative unison between visual art and experimental music, witnessing the Lasry family exchange their orthodox music skills in favour of crystal rods, balloons, wet bows and metal sheets, that would potentially change the course of European music which was already on the extreme verge of electrocution with the rise of tape music and embryonic synthesised instrumentation.Promoting the phrase Instruments Non-électroniques (as celebrated on the sleeve of the Cacophonic full-length release 11CACKLP) the Lasry-Baschet collective’s humanistic music (an attitude upheld by composers like Michel Magne) would later spark the imagination of Jean Cocteau leading to installations at the Museum Of Modern Art leading to a huge shift in the way people approached experimental melodic music alongside the efforts of Harry Partch and other music machine makers. The appropriation of their music in art, theatre, ballet, film and television came closest to UK shores when their composition Manège was used as the long running theme for the children’s TV compendium Picture Box spanning three decades (rivalling both The Moomins and The Booktower for the most indelible and nostalgic spooky theme tunes in the history of British TV) by which time Teddy Lasry had independently become one of France’s most creative instrumental composers of all time.

Georges Aperghis is probably still not much associated with music for solo piano. Music-theatre - of an uncommonly original kind, with extended vocal techniques much to the fore - has usually been his stamping ground. The concerns that his operas and other music-theatre compositions have embraced - often focusing around a highly individual approach to words and to all aspects of language, developed with great musical sophistication, resulting in what one might call a kind of sound poetry - are not among those immediately linked to the note-against-note preoccupations of which one tends to think where music for the piano is involved.

Georges Aperghis is probably still not much associated with music for solo piano. Music-theatre - of an uncommonly original kind, with extended vocal techniques much to the fore - has usually been his stamping ground. The concerns that his operas and other music-theatre compositions have embraced - often focusing around a highly individual approach to words and to all aspects of language, developed with great musical sophistication, resulting in what one might call a kind of sound poetry - are not among those immediately linked to the note-against-note preoccupations of which one tends to think where music for the piano is involved.

Nachdem Lambert dieses Jahr europaweit Konzerte asugebucht gespielt und sein Debut auf Decca"Sweet Apocalypse" veröffentlich hat, folgen nun auch seine vorherigen Werke Lambert, The LostTapes und Stay In The Dark auf Decca - jeweils auch auf LP.